O:9:"MagpieRSS":21:{s:6:"parser";i:0;s:12:"current_item";a:0:{}s:5:"items";a:10:{i:0;a:11:{s:5:"title";s:79:"Review: New movie tracks a woman’s mission to stop gun violence after tragedy";s:4:"link";s:126:"https://latestmovies.debatepost.com/latest-movies/review-new-movie-tracks-a-womans-mission-to-stop-gun-violence-after-tragedy/";s:2:"dc";a:1:{s:7:"creator";s:14:"Sally Thornton";}s:7:"pubdate";s:31:"Wed, 13 Jul 2022 15:07:44 +0000";s:8:"category";s:61:"Latest MoviesGunMissionMovieReviewtrackstragedyviolencewomans";s:4:"guid";s:44:"https://latestmovies.debatepost.com/?p=16412";s:11:"description";s:714:"Gabby Giffords and husband Mark Kelly in “Gabby Giffords Won’t Back Down.” Photo: Briarcliff Entertainment From the directing team who made “RBG,” “Gabby Giffords Won’t Back Down” tells the story of the Arizona Congress member who was shot in an assassination attempt in 2011. We see her before her injury and then throughout the entire ... Read more";s:7:"content";a:1:{s:7:"encoded";s:5740:"
From the directing team who made “RBG,” “Gabby Giffords Won’t Back Down” tells the story of the Arizona Congress member who was shot in an assassination attempt in 2011. We see her before her injury and then throughout the entire process of her recovery, which is still ongoing.
Tireless and loquacious, a centrist politician with a lot of charm, Giffords seemed on her way to a major career in politics and had the inside track for the Democratic nomination to the U.S. Senate. The assassination attempt effectively ended her career in elective politics and almost ended her life. She was shot through the left side of her head and somehow survived.
Her husband, Mark Kelly — an astronaut and now an Arizona senator — was so confident that his wife would recover that, from very early on, he started recording his visits to her bedside. His assumption, which turned out to be correct, was that years later they would watch the footage together. As a result, there are lots of scenes here showing Giffords soon after the injury, with her head shaved and the bullet wound and stitches clearly visible.
It hardly needs explaining that this is disturbing to see and equally disturbing to realize that, at this stage, Giffords could neither talk nor walk. Here was a competent and accomplished person with a limitless future reduced, in a matter of seconds, to helplessness.
As the story of a marriage and as a document of one woman’s resiliency in the face of a devastating blow, this is an inspiring film. However, it would probably be more inspiring — and in time it could become more inspiring — if we were in a position to know what Gabby Giffords’ story really means.
Gabby Giffords in the documentary “Gabby Giffords Won’t Back Down.” Photo: Briarcliff Entertainment
Is Giffords, whose eponymous organization outraises the National Rifle Association, in the advance guard of what will ultimately be a successful fight to curb gun violence? Or is Giffords simply one of the earlier victims in a fight that can’t be won? If the former turns out to be true, “Gabby Giffords Won’t Back Down” will be a better movie than it is today. In the latter scenario, it will just be depressing.
Yet whatever else it is, the movie is a nice check-in with Giffords, giving audiences a chance to assess her condition at length. She suffers from aphasia, which makes it very difficult for her to find words, but it’s clear that she is otherwise very much present mentally. In conversation, we see how she will carefully condense into just one or two well-selected words what, in earlier years, might have been a three-sentence answer.
Irrespective of what the future holds in terms of gun control, the movie is a striking portrait of a married couple who expected one kind of life, got another, and are making something useful from their misfortune. Giffords was supposed to become a U.S. senator. Instead, Kelly has become a senator. Meanwhile, Giffords travels and speaks on behalf of her organization. On Thursday, July 7, President Biden awarded her the Presidential Medal of Freedom.
As in “RBG,” which told the story of the late Supreme Court Justice Ruth Bader Ginsburg, directors Julie Cohen and Betsy West show how personal struggles informed a public woman’s politics. But “RBG” had more of a feeling of triumph about it (especially as RBG hadn’t yet died in time to be replaced by a woman determined to undo much of her life’s work). Not for better or worse but simply by inevitability, “Gabby Giffords Won’t Back Down” is a more bittersweet experience.
M“Gabby Giffords Won’t Back Down”: Documentary. Starring Gabby Giffords and Mark Kelly. Directed by Julie Cohen and Betsy West. (PG-13. 95 minutes.) In select theaters Friday, July 15.
We would like to give thanks to the writer of this write-up for this remarkable web content
";}s:7:"summary";s:714:"Gabby Giffords and husband Mark Kelly in “Gabby Giffords Won’t Back Down.” Photo: Briarcliff Entertainment From the directing team who made “RBG,” “Gabby Giffords Won’t Back Down” tells the story of the Arizona Congress member who was shot in an assassination attempt in 2011. We see her before her injury and then throughout the entire ... Read more";s:12:"atom_content";s:5740:"
From the directing team who made “RBG,” “Gabby Giffords Won’t Back Down” tells the story of the Arizona Congress member who was shot in an assassination attempt in 2011. We see her before her injury and then throughout the entire process of her recovery, which is still ongoing.
Tireless and loquacious, a centrist politician with a lot of charm, Giffords seemed on her way to a major career in politics and had the inside track for the Democratic nomination to the U.S. Senate. The assassination attempt effectively ended her career in elective politics and almost ended her life. She was shot through the left side of her head and somehow survived.
Her husband, Mark Kelly — an astronaut and now an Arizona senator — was so confident that his wife would recover that, from very early on, he started recording his visits to her bedside. His assumption, which turned out to be correct, was that years later they would watch the footage together. As a result, there are lots of scenes here showing Giffords soon after the injury, with her head shaved and the bullet wound and stitches clearly visible.
It hardly needs explaining that this is disturbing to see and equally disturbing to realize that, at this stage, Giffords could neither talk nor walk. Here was a competent and accomplished person with a limitless future reduced, in a matter of seconds, to helplessness.
As the story of a marriage and as a document of one woman’s resiliency in the face of a devastating blow, this is an inspiring film. However, it would probably be more inspiring — and in time it could become more inspiring — if we were in a position to know what Gabby Giffords’ story really means.
Gabby Giffords in the documentary “Gabby Giffords Won’t Back Down.” Photo: Briarcliff Entertainment
Is Giffords, whose eponymous organization outraises the National Rifle Association, in the advance guard of what will ultimately be a successful fight to curb gun violence? Or is Giffords simply one of the earlier victims in a fight that can’t be won? If the former turns out to be true, “Gabby Giffords Won’t Back Down” will be a better movie than it is today. In the latter scenario, it will just be depressing.
Yet whatever else it is, the movie is a nice check-in with Giffords, giving audiences a chance to assess her condition at length. She suffers from aphasia, which makes it very difficult for her to find words, but it’s clear that she is otherwise very much present mentally. In conversation, we see how she will carefully condense into just one or two well-selected words what, in earlier years, might have been a three-sentence answer.
Irrespective of what the future holds in terms of gun control, the movie is a striking portrait of a married couple who expected one kind of life, got another, and are making something useful from their misfortune. Giffords was supposed to become a U.S. senator. Instead, Kelly has become a senator. Meanwhile, Giffords travels and speaks on behalf of her organization. On Thursday, July 7, President Biden awarded her the Presidential Medal of Freedom.
As in “RBG,” which told the story of the late Supreme Court Justice Ruth Bader Ginsburg, directors Julie Cohen and Betsy West show how personal struggles informed a public woman’s politics. But “RBG” had more of a feeling of triumph about it (especially as RBG hadn’t yet died in time to be replaced by a woman determined to undo much of her life’s work). Not for better or worse but simply by inevitability, “Gabby Giffords Won’t Back Down” is a more bittersweet experience.
M“Gabby Giffords Won’t Back Down”: Documentary. Starring Gabby Giffords and Mark Kelly. Directed by Julie Cohen and Betsy West. (PG-13. 95 minutes.) In select theaters Friday, July 15.
We would like to give thanks to the writer of this write-up for this remarkable web content
";s:14:"date_timestamp";i:1657724864;}i:1;a:11:{s:5:"title";s:64:"11 New Movies This Week: ‘Where the Crawdads Sing’ and More!";s:4:"link";s:107:"https://latestmovies.debatepost.com/latest-movies/11-new-movies-this-week-where-the-crawdads-sing-and-more/";s:2:"dc";a:1:{s:7:"creator";s:11:"Harold King";}s:7:"pubdate";s:31:"Wed, 13 Jul 2022 14:54:08 +0000";s:8:"category";s:35:"Latest MoviesCrawdadsmoviessingWeek";s:4:"guid";s:44:"https://latestmovies.debatepost.com/?p=16398";s:11:"description";s:659:"Curious what’s releasing in theaters this week? There are 11 new movies this week, including the Reese Witherspoon-produced drama Where the Crawdads Sing, the animated Paws of Fury: The Legend of Hank, the action film The Gray Man starring Ryan Gosling, and more! Here’s the rundown of new movies this week that are coming out ... Read more";s:7:"content";a:1:{s:7:"encoded";s:26182:"
Curious what’s releasing in theaters this week? There are 11 new movies this week, including the Reese Witherspoon-produced drama Where the Crawdads Sing, the animated Paws of Fury: The Legend of Hank, the action film The Gray Man starring Ryan Gosling, and more!
Here’s the rundown of new movies this week that are coming out in theaters, as well as those releasing on the major streaming platforms.
New Movies Coming Out This Week July 11 – July 17, 2022
Photo courtesy of Sony Pictures
Where the Crawdads Sing (2022)
Rating: PG-13
Release Date: In theaters nationwide, Friday, July 15, 2022.
Summary: In Where the Crawdads Sing, Kya (Daisy Edgar-Jones) is an outsider in her community. She is called the ‘Marsh Girl’ by the locals. She was abandoned in the marshlands of North Carolina and raised herself to adulthood.
Kya begins exploring outside her marsh’s world when a young man she befriended is found dead. And she is immediately cast by the community as the main suspect. Kya’s life will be under the microscope, and many secrets of the marsh are about to be revealed.
What to Watch For: The film is produced by Reese Witherspoon. And it is based on the best-selling novel by Delia Owens.
Word on the Street: Taylor Swift has written an original song named Carolina for the film.
My Take: Having read the book, I can’t wait to see this film.
Photo courtesy of Paramount Pictures
Paws of Fury: The Legend of Hank (2022)
Rating: PG
Release Date: In theaters nationwide, Friday, July 15, 2022.
Summary: Ever since Hank (voiced by Micael Cera), as a young pup, was saved from bullies by a mysterious samurai, he has wanted to become a samurai himself. In Paws of Fury: The Legend of Hank, Hank is hired to become the samurai of a small town being threatened by an evil overload. The only problem, Hank is a dog, and the townspeople are cats.
What to Watch For: The stellar voice cast is comprised of Samuel L. Jackson, George Takei, Ricky Gervais, Gabriel Iglesias, Djimon Hounsou, Michell Yeoh, and the legendary Mel Brooks.
Word on the Street: Mel Brooks wrote his lines for the film, taking inspiration from his film Blazing Saddles (1974).
My Take: Samuel L. Jackson as a washed-up samurai, is more than enough to see this film.
Photo courtesy of Focus Features
Mrs. Harris Goes to Paris (2022)
Rating: PG
Release Date: In theaters nationwide, Friday, July 15, 2022.
Summary: Mrs. Harris Goes to Paris is a film about a widowed cleaning lady (Lesley Manville) in 1950s London who inherits a big of money, falls madly in love with the dresses of Dior, and decides to fly to Paris and buy one for herself. It’s a tale of adventure that will change her life and possibly the very future of the House of Dior itself.
What to Watch For: Lesley Manville is best known for her Oscar-nominated performance of Cyril in the 2017 Paul Thomas Anderson film The Phantom Thread and as Princess Margaret in the TV series The Crown.
Word on the Street: The film is from filmmaker Antony Fabian, the director of the award-winning 2008 film Skin.
My Take: One of the film’s stars is French actress Isabelle Huppert, who I fell in love with back in the 1977 film The Lacemaker. More recently, Huppert was nominated for an Oscar for her performance in the thriller Elle (2016).
Photo courtesy of Amazon Studios
Don’t Make Me Go (2022)
Rating: R
Release Date: Premieres on Amazon Prime Video on Friday, July 15, 2022.
Summary: Don’t Make Me Go is about Max (John Cho), a single father who discovers he has a fatal brain tumor. Straightaway, Max decides to take his daughter, Wally (Mia Isaac), on a road trip. This is Max’s last chance to try and teach his daughter everything she might need to live her life on her own.
What To Watch For: The movie is coming off a win at the 2022 Heartland Film Festival. And it made its premiere at the Tribeca Film Festival.
Word on the Street: The film is written by Vera Herbert, who was on the writing staff of the popular TV show This is Us.
My Take: John Cho is best known for playing Sulu in the Star Trek film series. And, of course, Harold in Harold & Kumar Go to White Castle (2004).
Photo courtesy of Netflix
The Gray Man (2022)
Rating: PG-13
Release Date: In select theaters on Friday, July 15, 2022. And premiering on Netflix on July 22, 2022.
Summary: The Gray Man is about Court Gentry (Ryan Gosling), whose true identity is known to none (but in the film we know him as Six). He is the CIA’s man when someone needs to die, the Agency-sanctioned merchant of death. After accidentally uncovering dark Agency secrets, Six is being hunted by Lloyd Hasen (Chris Evans). Lloyd is a former fellow assassin, who has been given the task to hunt Six down and take him out. Now the only person he can count on is Agent Dani Miranda (Ana de Armas). But the odds are against him… just the way that Six likes it.
What to Watch For: The film is directed by the Russo brothers, known for their movies Avengers: Infinity War (2018) and Avengers: End Game (2019).
Word on the Street: The film is one of the biggest budget films that Netflix has ever produced, with a price tag of over 200 million.
My Take: Ana de Armas is on a hot streak with her film’s Knives Out (2019) and No Time to Die (2021).
Photo courtesy of Vertical Entertainment
Gone in the Night (2022)
Rating: R
Release Date: In theaters nationwide, Friday, July 15, 2022.
Summary:Gone in the Night begins when Kath (Winona Ryder) and her boyfriend Max (John Gallagher Jr.) go on a weekend trip to a remote cabin in the wilderness. However, when they arrive, they find that the cabin has been double-booked. And a young couple (Brianne Tju, Owen Teague) has already moved in.
The two couples decide to share the cabin, and after a night of partying, Kath wakes up to discover that both her boyfriend and the other woman have disappeared. When Max doesn’t show up, Kath goes on the hunt to find him with the help of the owner of the cabin (Dermot Mulroney). And she discovers that the truth is stranger than she could have ever imagined.
What to Watch For: The film is from Eli Horowitz, who created the Emmy-nominated TV anthology series Homecoming.
Word on the Street: Brianne Tju is best known for her role as Margot in the TV series I Know What You Did Last Summer.
My Take: I’m so happy for Winona Ryder’s recent success in the Stranger Things TV series. I have been a fan of hers since her roles in Lucas (1986) and Beetlejuice (1988).
Photo courtesy of Netflix
Persuasion (2022)
Rating: PG
Release Date: Premieres on Netflix on Friday, July 15, 2022.
Summary: In Persuasion, Anne Elliot (Dakota Johnson) has never gotten over the man she was persuaded not to marry eight years ago due to his humble origins. Now that man, Captain Wentworth (Cosmo Jarvis), is back in her life.
However, there is a new suitor for Anne’s heart, the dashing Mr. Elliot (Henry Golding). And Anne is torn between an old love who got away and a new one who promises to give her the world.
What to Watch For: The film is based on the book of the same name by Jane Austin.
Word on the Street: The film is directed by four-time Tony Award-nominated director Carrie Cracknell.
My Take: I have been impressed by Dakota Johnson’s work of late. I’ve especially liked The Peanut Butter Falcon (2019), The Lost Daughter (2021), and the recently released Cha Cha Real Smooth (2022).
Victoria’s Secret: Angels and Demons (2022)
Photo courtesy of Hulu
Rating: N/A
Release Date: Premieres on Hulu on Thursday, July 14, 2022.
Summary: This documentary series, Victoria’s Secret: Angels and Demons, tells the story of the Victoria’s Secret brand and its longtime CEO, the bombastic and enigmatic billionaire Les Wexner.
What to Watch For: The documentary series will show us what happened behind the scenes in creating a legendary brand, including the possible connection between CEO Les Wexner and convicted sex-offender Jeffery Epstein.
Word on the Street: The doc-series is from award-winning filmmaker Matt Tyrnauer (Studio 54, Citizen Jane: Battle for the City, Valentino: The Last Emperor).
My Take: I loved the documentary Studio 54, so I will be watching this doc-series.
Photo courtesy of IFC Midnight Films
She Will (2021)
Rating: N/A
Release Date: In select theaters on Friday, July 15, 2022.
Summary: In She Will, Veronica (Alice Krige), after having a double mastectomy, goes to a healing retreat in rural Scotland with her young nurse, Desi (Kota Eberhardt). Veronica soon experiences things that question her very existence. And she develops an unlikely bond with Desi that allows Veronica the power to enact revenge within her dreams.
What to Watch For: The film was a big hit on the film festival circuit. It won the Best First Feature at the 2021 Locarno International Film Festival.
Word on the Street: This is the feature film debut of writer/director Charlotte Colbert, whose previous work includes the short films The Man with the Stolen Heart and The Silent Man.
My Take: Alice Krige will always be known to me as The Borg Queen from the TV and movie series Star Trek.
Photo courtesy of GKids
The Deer King (2021)
Rating: R
Release Date: In select theaters on Friday, July 15, 2022.
Summary: The Deer King is about Van, who is the last of a group of soldiers fighting for their lands against an evil empire. After becoming the lone survivor of a slave camp, Van meets a young girl, and they go on an adventure that may save the universe.
What to Watch For: The film is directed by Masashi Ando (Princess Mononoke, Spirited Away) and Masayuki Miyaji (Xam’d: Lost Memories, Fuse: Memoirs of a Huntress).
Word on the Street: The film won the Bronze Audience Award at the 2021 Fantasia International Film Festival.
My Take: The film is based on the beloved The Deer King series of novels that also inspired a best-selling manga adaptation.
Photo courtesy of CNN Films
Gabby Giffords Won’t Back Down (2022)
Rating: PG-13
Release Date: In theaters nationwide, Friday, July 15, 2022.
Summary: Gabby Giffords Won’t Back Down is a documentary about the former congresswoman, Gabby Gifford, and her battle to overcome the effects of an assassination attempt in 2011 that left her partially paralyzed and with a language impairment.
What to Watch For: From the team that brought us the Academy Award-nominated RBG (2018).
Word on the Street: The film features interviews with Gabby and her husband, astronaut turned Senator Mark Kelly, along with friends and colleagues, including President Barack Obama.
My Take: The directors of this film, Julie Cohen and Betsy West, have made some of my favorite documentaries of the past five years, including Julia (2021), My Name is Pauli Murray (2021), and of course, RBG (2018).
What New Movies This Week Are You Planning to Watch?
And that’s your new releases for the week of July 11 – July 17, 2022.
In our comment section below, let us know what new movies this week you are excited to see!
Recommend0 recommendationsPublished in Digital, Featured, Movie News, Movie Reviews, Movies
We would love to say thanks to the author of this write-up for this incredible content
";}s:7:"summary";s:659:"Curious what’s releasing in theaters this week? There are 11 new movies this week, including the Reese Witherspoon-produced drama Where the Crawdads Sing, the animated Paws of Fury: The Legend of Hank, the action film The Gray Man starring Ryan Gosling, and more! Here’s the rundown of new movies this week that are coming out ... Read more";s:12:"atom_content";s:26182:"
Curious what’s releasing in theaters this week? There are 11 new movies this week, including the Reese Witherspoon-produced drama Where the Crawdads Sing, the animated Paws of Fury: The Legend of Hank, the action film The Gray Man starring Ryan Gosling, and more!
Here’s the rundown of new movies this week that are coming out in theaters, as well as those releasing on the major streaming platforms.
New Movies Coming Out This Week July 11 – July 17, 2022
Photo courtesy of Sony Pictures
Where the Crawdads Sing (2022)
Rating: PG-13
Release Date: In theaters nationwide, Friday, July 15, 2022.
Summary: In Where the Crawdads Sing, Kya (Daisy Edgar-Jones) is an outsider in her community. She is called the ‘Marsh Girl’ by the locals. She was abandoned in the marshlands of North Carolina and raised herself to adulthood.
Kya begins exploring outside her marsh’s world when a young man she befriended is found dead. And she is immediately cast by the community as the main suspect. Kya’s life will be under the microscope, and many secrets of the marsh are about to be revealed.
What to Watch For: The film is produced by Reese Witherspoon. And it is based on the best-selling novel by Delia Owens.
Word on the Street: Taylor Swift has written an original song named Carolina for the film.
My Take: Having read the book, I can’t wait to see this film.
Photo courtesy of Paramount Pictures
Paws of Fury: The Legend of Hank (2022)
Rating: PG
Release Date: In theaters nationwide, Friday, July 15, 2022.
Summary: Ever since Hank (voiced by Micael Cera), as a young pup, was saved from bullies by a mysterious samurai, he has wanted to become a samurai himself. In Paws of Fury: The Legend of Hank, Hank is hired to become the samurai of a small town being threatened by an evil overload. The only problem, Hank is a dog, and the townspeople are cats.
What to Watch For: The stellar voice cast is comprised of Samuel L. Jackson, George Takei, Ricky Gervais, Gabriel Iglesias, Djimon Hounsou, Michell Yeoh, and the legendary Mel Brooks.
Word on the Street: Mel Brooks wrote his lines for the film, taking inspiration from his film Blazing Saddles (1974).
My Take: Samuel L. Jackson as a washed-up samurai, is more than enough to see this film.
Photo courtesy of Focus Features
Mrs. Harris Goes to Paris (2022)
Rating: PG
Release Date: In theaters nationwide, Friday, July 15, 2022.
Summary: Mrs. Harris Goes to Paris is a film about a widowed cleaning lady (Lesley Manville) in 1950s London who inherits a big of money, falls madly in love with the dresses of Dior, and decides to fly to Paris and buy one for herself. It’s a tale of adventure that will change her life and possibly the very future of the House of Dior itself.
What to Watch For: Lesley Manville is best known for her Oscar-nominated performance of Cyril in the 2017 Paul Thomas Anderson film The Phantom Thread and as Princess Margaret in the TV series The Crown.
Word on the Street: The film is from filmmaker Antony Fabian, the director of the award-winning 2008 film Skin.
My Take: One of the film’s stars is French actress Isabelle Huppert, who I fell in love with back in the 1977 film The Lacemaker. More recently, Huppert was nominated for an Oscar for her performance in the thriller Elle (2016).
Photo courtesy of Amazon Studios
Don’t Make Me Go (2022)
Rating: R
Release Date: Premieres on Amazon Prime Video on Friday, July 15, 2022.
Summary: Don’t Make Me Go is about Max (John Cho), a single father who discovers he has a fatal brain tumor. Straightaway, Max decides to take his daughter, Wally (Mia Isaac), on a road trip. This is Max’s last chance to try and teach his daughter everything she might need to live her life on her own.
What To Watch For: The movie is coming off a win at the 2022 Heartland Film Festival. And it made its premiere at the Tribeca Film Festival.
Word on the Street: The film is written by Vera Herbert, who was on the writing staff of the popular TV show This is Us.
My Take: John Cho is best known for playing Sulu in the Star Trek film series. And, of course, Harold in Harold & Kumar Go to White Castle (2004).
Photo courtesy of Netflix
The Gray Man (2022)
Rating: PG-13
Release Date: In select theaters on Friday, July 15, 2022. And premiering on Netflix on July 22, 2022.
Summary: The Gray Man is about Court Gentry (Ryan Gosling), whose true identity is known to none (but in the film we know him as Six). He is the CIA’s man when someone needs to die, the Agency-sanctioned merchant of death. After accidentally uncovering dark Agency secrets, Six is being hunted by Lloyd Hasen (Chris Evans). Lloyd is a former fellow assassin, who has been given the task to hunt Six down and take him out. Now the only person he can count on is Agent Dani Miranda (Ana de Armas). But the odds are against him… just the way that Six likes it.
What to Watch For: The film is directed by the Russo brothers, known for their movies Avengers: Infinity War (2018) and Avengers: End Game (2019).
Word on the Street: The film is one of the biggest budget films that Netflix has ever produced, with a price tag of over 200 million.
My Take: Ana de Armas is on a hot streak with her film’s Knives Out (2019) and No Time to Die (2021).
Photo courtesy of Vertical Entertainment
Gone in the Night (2022)
Rating: R
Release Date: In theaters nationwide, Friday, July 15, 2022.
Summary:Gone in the Night begins when Kath (Winona Ryder) and her boyfriend Max (John Gallagher Jr.) go on a weekend trip to a remote cabin in the wilderness. However, when they arrive, they find that the cabin has been double-booked. And a young couple (Brianne Tju, Owen Teague) has already moved in.
The two couples decide to share the cabin, and after a night of partying, Kath wakes up to discover that both her boyfriend and the other woman have disappeared. When Max doesn’t show up, Kath goes on the hunt to find him with the help of the owner of the cabin (Dermot Mulroney). And she discovers that the truth is stranger than she could have ever imagined.
What to Watch For: The film is from Eli Horowitz, who created the Emmy-nominated TV anthology series Homecoming.
Word on the Street: Brianne Tju is best known for her role as Margot in the TV series I Know What You Did Last Summer.
My Take: I’m so happy for Winona Ryder’s recent success in the Stranger Things TV series. I have been a fan of hers since her roles in Lucas (1986) and Beetlejuice (1988).
Photo courtesy of Netflix
Persuasion (2022)
Rating: PG
Release Date: Premieres on Netflix on Friday, July 15, 2022.
Summary: In Persuasion, Anne Elliot (Dakota Johnson) has never gotten over the man she was persuaded not to marry eight years ago due to his humble origins. Now that man, Captain Wentworth (Cosmo Jarvis), is back in her life.
However, there is a new suitor for Anne’s heart, the dashing Mr. Elliot (Henry Golding). And Anne is torn between an old love who got away and a new one who promises to give her the world.
What to Watch For: The film is based on the book of the same name by Jane Austin.
Word on the Street: The film is directed by four-time Tony Award-nominated director Carrie Cracknell.
My Take: I have been impressed by Dakota Johnson’s work of late. I’ve especially liked The Peanut Butter Falcon (2019), The Lost Daughter (2021), and the recently released Cha Cha Real Smooth (2022).
Victoria’s Secret: Angels and Demons (2022)
Photo courtesy of Hulu
Rating: N/A
Release Date: Premieres on Hulu on Thursday, July 14, 2022.
Summary: This documentary series, Victoria’s Secret: Angels and Demons, tells the story of the Victoria’s Secret brand and its longtime CEO, the bombastic and enigmatic billionaire Les Wexner.
What to Watch For: The documentary series will show us what happened behind the scenes in creating a legendary brand, including the possible connection between CEO Les Wexner and convicted sex-offender Jeffery Epstein.
Word on the Street: The doc-series is from award-winning filmmaker Matt Tyrnauer (Studio 54, Citizen Jane: Battle for the City, Valentino: The Last Emperor).
My Take: I loved the documentary Studio 54, so I will be watching this doc-series.
Photo courtesy of IFC Midnight Films
She Will (2021)
Rating: N/A
Release Date: In select theaters on Friday, July 15, 2022.
Summary: In She Will, Veronica (Alice Krige), after having a double mastectomy, goes to a healing retreat in rural Scotland with her young nurse, Desi (Kota Eberhardt). Veronica soon experiences things that question her very existence. And she develops an unlikely bond with Desi that allows Veronica the power to enact revenge within her dreams.
What to Watch For: The film was a big hit on the film festival circuit. It won the Best First Feature at the 2021 Locarno International Film Festival.
Word on the Street: This is the feature film debut of writer/director Charlotte Colbert, whose previous work includes the short films The Man with the Stolen Heart and The Silent Man.
My Take: Alice Krige will always be known to me as The Borg Queen from the TV and movie series Star Trek.
Photo courtesy of GKids
The Deer King (2021)
Rating: R
Release Date: In select theaters on Friday, July 15, 2022.
Summary: The Deer King is about Van, who is the last of a group of soldiers fighting for their lands against an evil empire. After becoming the lone survivor of a slave camp, Van meets a young girl, and they go on an adventure that may save the universe.
What to Watch For: The film is directed by Masashi Ando (Princess Mononoke, Spirited Away) and Masayuki Miyaji (Xam’d: Lost Memories, Fuse: Memoirs of a Huntress).
Word on the Street: The film won the Bronze Audience Award at the 2021 Fantasia International Film Festival.
My Take: The film is based on the beloved The Deer King series of novels that also inspired a best-selling manga adaptation.
Photo courtesy of CNN Films
Gabby Giffords Won’t Back Down (2022)
Rating: PG-13
Release Date: In theaters nationwide, Friday, July 15, 2022.
Summary: Gabby Giffords Won’t Back Down is a documentary about the former congresswoman, Gabby Gifford, and her battle to overcome the effects of an assassination attempt in 2011 that left her partially paralyzed and with a language impairment.
What to Watch For: From the team that brought us the Academy Award-nominated RBG (2018).
Word on the Street: The film features interviews with Gabby and her husband, astronaut turned Senator Mark Kelly, along with friends and colleagues, including President Barack Obama.
My Take: The directors of this film, Julie Cohen and Betsy West, have made some of my favorite documentaries of the past five years, including Julia (2021), My Name is Pauli Murray (2021), and of course, RBG (2018).
What New Movies This Week Are You Planning to Watch?
And that’s your new releases for the week of July 11 – July 17, 2022.
In our comment section below, let us know what new movies this week you are excited to see!
Recommend0 recommendationsPublished in Digital, Featured, Movie News, Movie Reviews, Movies
We would love to say thanks to the author of this write-up for this incredible content
";s:14:"date_timestamp";i:1657724048;}i:2;a:11:{s:5:"title";s:56:"The First—and Last—Time We Rank the Star Wars Movies";s:4:"link";s:103:"https://latestmovies.debatepost.com/latest-movies/the-first-and-last-time-we-rank-the-star-wars-movies/";s:2:"dc";a:1:{s:7:"creator";s:7:"Susan P";}s:7:"pubdate";s:31:"Wed, 13 Jul 2022 11:39:30 +0000";s:8:"category";s:47:"Latest MoviesFirstandLastTimemoviesRankstarWars";s:4:"guid";s:44:"https://latestmovies.debatepost.com/?p=16387";s:11:"description";s:589:"Or is it? George Lucas’ prequel trilogy did far more than tell the story of the rise of Vader. It also revised the legacy of the Jedi, and therefore the legacy of the franchise itself. The famed Jedi Council was revealed to be not some bastion of wisdom and nobility and truth, but flawed, even ... Read more";s:7:"content";a:1:{s:7:"encoded";s:4568:"
Or is it? George Lucas’ prequel trilogy did far more than tell the story of the rise of Vader. It also revised the legacy of the Jedi, and therefore the legacy of the franchise itself. The famed Jedi Council was revealed to be not some bastion of wisdom and nobility and truth, but flawed, even corrupt: perfectly capable of manipulation and deceit. In a word, a colossal failure. Yoda failed Dooku, just as Obi-Wan failed Anakin, and the galaxy along with him.
This was world-building—world-remodeling—at its finest. To then go back and rewatch the originals, in light of the prequels, was to gain a deeper appreciation of Luke’s Lightness, his goodness. The only reason he would’ve become an agent of evil, it was now clear, was if he’d listened to Yoda and not saved his friends. On some level, Luke had perceived the failure of the Jedi, their recourse to dogmatism and arrogant all-knowingness, and sought to break the pattern. That’s why this list puts Attack of the Clones near the top and Revenge of the Sith at the very. If a new story in a franchise deepens or expands, rather than limits or undermines, your idea and enjoyment of an original, it’s worthwhile—and can plausibly be considered better.
Not that J.J. Abrams understood this. When he went to make his contribution to the Skywalker Saga—episodes VII–IX, producing all three, directing the first and third—he looked not to the prequels for inspiration, as he should have. He looked to the originals.
The result, some say, were “homages” to Lucas, loving reconstructions that introduced the archetypal storytelling of Star Wars to a new generation. This is hooey. Abrams’ films were, to put it plainly, plagiarizations of the first order, a copy-and-paste made all the more shameful by the implication that having a female lead, in Daisy Ridley’s Rey, was all it took to legitimate the effort. So his films must, in any ranking and certainly in this one, appear nowhere other than dead last. The characters and plot points were so mappable to their original-story counterparts, Abrams’ failure of imagination so total, that the trilogy threatens to destroy, to this day, the legacy of the entire franchise.
That’s, again, why this list hates lists. Because as much as Abrams is to blame for the general worthlessness of Rey’s journey to Jedi-dom—and he really, really is—lists, especially those that serve only to recapitulate norms, are equally, and perhaps even more so, responsible. Lazy, lame, lusterless, lacking, such lists are. In continually propping up the glory of the old, they inflict their own risk-aversion outward, poisoning audiences with a conservatism at fundamental odds with the emancipatory art of storytelling. As a result, fandoms, far from welcoming radical change, demand allegiance, loyalty, to tradition.
Over the years, certain swaths of the Star Wars fandom have revealed themselves to be exactly that: backward-bound in the extreme, and thus unwelcoming of transformation. Not wise, in other words, or noble or true, but flawed, even corrupt—failures of men. How big this sodality is has never been entirely clear. What is clear is this: They’re out there now, and they’re holding us back.
And they are, very probably, many of you: the audience for an article like this one. Ask yourself, as Yoda once asked Luke: Why are you here? Because if it’s to argue and show off and police and hate—and what else would it be?—an agent of evil you already are. To seek out rankings of Star Wars films, to read list after list after bullshit list, is ultimately to justify your obsession with, and nostalgia for, a dying franchise: the infinite hours you’ve spent rehashing its pointless particulars. If only you had friends to escape to. If only you had actual people to save.
We would love to thank the writer of this article for this remarkable web content
";}s:7:"summary";s:589:"Or is it? George Lucas’ prequel trilogy did far more than tell the story of the rise of Vader. It also revised the legacy of the Jedi, and therefore the legacy of the franchise itself. The famed Jedi Council was revealed to be not some bastion of wisdom and nobility and truth, but flawed, even ... Read more";s:12:"atom_content";s:4568:"
Or is it? George Lucas’ prequel trilogy did far more than tell the story of the rise of Vader. It also revised the legacy of the Jedi, and therefore the legacy of the franchise itself. The famed Jedi Council was revealed to be not some bastion of wisdom and nobility and truth, but flawed, even corrupt: perfectly capable of manipulation and deceit. In a word, a colossal failure. Yoda failed Dooku, just as Obi-Wan failed Anakin, and the galaxy along with him.
This was world-building—world-remodeling—at its finest. To then go back and rewatch the originals, in light of the prequels, was to gain a deeper appreciation of Luke’s Lightness, his goodness. The only reason he would’ve become an agent of evil, it was now clear, was if he’d listened to Yoda and not saved his friends. On some level, Luke had perceived the failure of the Jedi, their recourse to dogmatism and arrogant all-knowingness, and sought to break the pattern. That’s why this list puts Attack of the Clones near the top and Revenge of the Sith at the very. If a new story in a franchise deepens or expands, rather than limits or undermines, your idea and enjoyment of an original, it’s worthwhile—and can plausibly be considered better.
Not that J.J. Abrams understood this. When he went to make his contribution to the Skywalker Saga—episodes VII–IX, producing all three, directing the first and third—he looked not to the prequels for inspiration, as he should have. He looked to the originals.
The result, some say, were “homages” to Lucas, loving reconstructions that introduced the archetypal storytelling of Star Wars to a new generation. This is hooey. Abrams’ films were, to put it plainly, plagiarizations of the first order, a copy-and-paste made all the more shameful by the implication that having a female lead, in Daisy Ridley’s Rey, was all it took to legitimate the effort. So his films must, in any ranking and certainly in this one, appear nowhere other than dead last. The characters and plot points were so mappable to their original-story counterparts, Abrams’ failure of imagination so total, that the trilogy threatens to destroy, to this day, the legacy of the entire franchise.
That’s, again, why this list hates lists. Because as much as Abrams is to blame for the general worthlessness of Rey’s journey to Jedi-dom—and he really, really is—lists, especially those that serve only to recapitulate norms, are equally, and perhaps even more so, responsible. Lazy, lame, lusterless, lacking, such lists are. In continually propping up the glory of the old, they inflict their own risk-aversion outward, poisoning audiences with a conservatism at fundamental odds with the emancipatory art of storytelling. As a result, fandoms, far from welcoming radical change, demand allegiance, loyalty, to tradition.
Over the years, certain swaths of the Star Wars fandom have revealed themselves to be exactly that: backward-bound in the extreme, and thus unwelcoming of transformation. Not wise, in other words, or noble or true, but flawed, even corrupt—failures of men. How big this sodality is has never been entirely clear. What is clear is this: They’re out there now, and they’re holding us back.
And they are, very probably, many of you: the audience for an article like this one. Ask yourself, as Yoda once asked Luke: Why are you here? Because if it’s to argue and show off and police and hate—and what else would it be?—an agent of evil you already are. To seek out rankings of Star Wars films, to read list after list after bullshit list, is ultimately to justify your obsession with, and nostalgia for, a dying franchise: the infinite hours you’ve spent rehashing its pointless particulars. If only you had friends to escape to. If only you had actual people to save.
We would love to thank the writer of this article for this remarkable web content
";s:14:"date_timestamp";i:1657712370;}i:3;a:11:{s:5:"title";s:128:"Cameron Diaz Explains Why She Took A Break From Acting, And What She Missed Most Before Unretiring For New Movie With Jamie Foxx";s:4:"link";s:178:"https://latestmovies.debatepost.com/latest-movies/cameron-diaz-explains-why-she-took-a-break-from-acting-and-what-she-missed-most-before-unretiring-for-new-movie-with-jamie-foxx/";s:2:"dc";a:1:{s:7:"creator";s:14:"River Streeter";}s:7:"pubdate";s:31:"Wed, 13 Jul 2022 10:28:57 +0000";s:8:"category";s:73:"Latest MoviesActingBreakCameronDiazExplainsFoxxJamieMissedMovieUnretiring";s:4:"guid";s:44:"https://latestmovies.debatepost.com/?p=16381";s:11:"description";s:811:"For the past four years, Cameron Diaz has been living her best life being a wife, a mother to her two-year-old daughter, and creating her own wine brand Avaline. However, a Netflix movie with her former Annie co-star Jamie Foxx pulled her out of retirement and set the stage for the next big move in ... Read more";s:7:"content";a:1:{s:7:"encoded";s:5332:"
For the past four years, Cameron Diaz has been living her best life being a wife, a mother to her two-year-old daughter, and creating her own wine brand Avaline. However, a Netflix movie with her former Annie co-star Jamie Foxx pulled her out of retirement and set the stage for the next big move in her life. Before she officially gets back to filming, the San Diego native has explained why she took a break from acting and what she missed the most about it.
Cameron Diaz has been an actress ever since she made her debut at the age of 21 playing Tina Carlyle in 1994’s The Mask. When you’ve been in the Hollywood spotlight for so long, it can make any actor want to re-define themselves and their future. In an interview with CBS Mornings, Diaz spoke about why she took a “step back.”
When you’re doing something that you know and you’ve done well and you know how it works and it’s consumed your whole life for so long, it’s kind of a nice thing to kind of go, ‘You know what? Let me just step back for a second, take a look at what, you know, the whole picture looks like for me and what are the things that I could do better and be more engaged with that would make me feel more whole.’ And I did that.
There was a time when Diaz didn’t know if she had what it took to be in movies anymore. When you’ve spent the past four years with a whole new life, you may not think there is any reason to leave it. The 49-year-old star felt like she wanted to focus all of her attention on her loving family instead of being in front of a camera. Her daughter Maddix is still little, and she wanted to be able to spend the time engaging with her family and facets that made her “feel more whole.”
While Cameron Diaz has realized a lot of important stuff about what she wants while parenting Maddix, she is very food at acting and was the highest paid actress over 40 when she previously “retired” from work. But she did admit in the CBS interview that she did miss acting, even whilst on a break.
I mean, I miss aspects of acting, or making movies. Yeah, making movies is a particular skill set that is fun to exercise and be a part of. But, yeah, life is – it’s a different lifestyle, and you kind of have to be ready to do that.
I do get it. Dividing your time being on and off set can be a constant struggle when you are in the entertainment business. Diaz continued to speak on why she took an extended break — and referred to herself as retired — and it had to do with the universal struggle of giving 100% effort in your life.
Everybody only has 100 percent, and you always have to figure out how you’re going to divide that 100 percent to spread it to all the parts of your life that matter.
Luckily, Netflix subscribers will have a chance to see Cameron Diaz shine once again to co-star in Netflix’s Back in Action. An ironic film title for someone who is stepping out of retirement to come back to. We have no idea when it will hit Netflix or what the film is even about, but we can expect it to be an action-comedy as Horrible Bosses’ Seth Gordon will be directing as well as co-writing the script with Neighbors’ Brendan O’Brien. If we’re going to thank anybody for encouraging the My Sister’s Keeper star to come back to acting, the idea was allegedly from her husband, Joel Madden. So, it’s nice to know that the family she wanted to stick around for actually pushed her to make a cinematic comeback.
While Cameron Diaz is reportedly feeling anxiously excited about her comeback to movies, but I’m genuinely pumped for what’s next for her. Stay up-to-date with the Netflix schedule so that you’ll be the first to know when Back in Action will premiere on Netflix.
We would like to give thanks to the writer of this write-up for this amazing content
";}s:7:"summary";s:811:"For the past four years, Cameron Diaz has been living her best life being a wife, a mother to her two-year-old daughter, and creating her own wine brand Avaline. However, a Netflix movie with her former Annie co-star Jamie Foxx pulled her out of retirement and set the stage for the next big move in ... Read more";s:12:"atom_content";s:5332:"
For the past four years, Cameron Diaz has been living her best life being a wife, a mother to her two-year-old daughter, and creating her own wine brand Avaline. However, a Netflix movie with her former Annie co-star Jamie Foxx pulled her out of retirement and set the stage for the next big move in her life. Before she officially gets back to filming, the San Diego native has explained why she took a break from acting and what she missed the most about it.
Cameron Diaz has been an actress ever since she made her debut at the age of 21 playing Tina Carlyle in 1994’s The Mask. When you’ve been in the Hollywood spotlight for so long, it can make any actor want to re-define themselves and their future. In an interview with CBS Mornings, Diaz spoke about why she took a “step back.”
When you’re doing something that you know and you’ve done well and you know how it works and it’s consumed your whole life for so long, it’s kind of a nice thing to kind of go, ‘You know what? Let me just step back for a second, take a look at what, you know, the whole picture looks like for me and what are the things that I could do better and be more engaged with that would make me feel more whole.’ And I did that.
There was a time when Diaz didn’t know if she had what it took to be in movies anymore. When you’ve spent the past four years with a whole new life, you may not think there is any reason to leave it. The 49-year-old star felt like she wanted to focus all of her attention on her loving family instead of being in front of a camera. Her daughter Maddix is still little, and she wanted to be able to spend the time engaging with her family and facets that made her “feel more whole.”
While Cameron Diaz has realized a lot of important stuff about what she wants while parenting Maddix, she is very food at acting and was the highest paid actress over 40 when she previously “retired” from work. But she did admit in the CBS interview that she did miss acting, even whilst on a break.
I mean, I miss aspects of acting, or making movies. Yeah, making movies is a particular skill set that is fun to exercise and be a part of. But, yeah, life is – it’s a different lifestyle, and you kind of have to be ready to do that.
I do get it. Dividing your time being on and off set can be a constant struggle when you are in the entertainment business. Diaz continued to speak on why she took an extended break — and referred to herself as retired — and it had to do with the universal struggle of giving 100% effort in your life.
Everybody only has 100 percent, and you always have to figure out how you’re going to divide that 100 percent to spread it to all the parts of your life that matter.
Luckily, Netflix subscribers will have a chance to see Cameron Diaz shine once again to co-star in Netflix’s Back in Action. An ironic film title for someone who is stepping out of retirement to come back to. We have no idea when it will hit Netflix or what the film is even about, but we can expect it to be an action-comedy as Horrible Bosses’ Seth Gordon will be directing as well as co-writing the script with Neighbors’ Brendan O’Brien. If we’re going to thank anybody for encouraging the My Sister’s Keeper star to come back to acting, the idea was allegedly from her husband, Joel Madden. So, it’s nice to know that the family she wanted to stick around for actually pushed her to make a cinematic comeback.
While Cameron Diaz is reportedly feeling anxiously excited about her comeback to movies, but I’m genuinely pumped for what’s next for her. Stay up-to-date with the Netflix schedule so that you’ll be the first to know when Back in Action will premiere on Netflix.
We would like to give thanks to the writer of this write-up for this amazing content
";s:14:"date_timestamp";i:1657708137;}i:4;a:11:{s:5:"title";s:105:"Netflix’s Resident Evil series could have been about superdad Albert Wesker. Instead it’s just boring";s:4:"link";s:149:"https://latestmovies.debatepost.com/latest-movies/netflixs-resident-evil-series-could-have-been-about-superdad-albert-wesker-instead-its-just-boring/";s:2:"dc";a:1:{s:7:"creator";s:11:"Harold King";}s:7:"pubdate";s:31:"Wed, 13 Jul 2022 07:48:39 +0000";s:8:"category";s:65:"Latest MoviesAlbertboringEvilNetflixsResidentseriessuperdadWesker";s:4:"guid";s:44:"https://latestmovies.debatepost.com/?p=16370";s:11:"description";s:797:"Resident Evil can be just about anything. The long-running series, which started as a video game in 1996, has an elastic world that has successfully hosted everything from zombies and sea monsters to secret agents and powerful psychics without ever worrying too much about complex explanations. However, the biggest surprise about Netflix’s new Resident Evil ... Read more";s:7:"content";a:1:{s:7:"encoded";s:10281:"
Resident Evil can be just about anything. The long-running series, which started as a video game in 1996, has an elastic world that has successfully hosted everything from zombies and sea monsters to secret agents and powerful psychics without ever worrying too much about complex explanations. However, the biggest surprise about Netflix’s new Resident Evil series from creator Andrew Dabb (Supernatural) is its careful devotion to the series’ weird, and often tampered with, canon — and just how boring the show is as a result.
Netflix’s Resident Evil series follows Jade Wesker (Ella Balinska) across two different time periods. The first is in 2022, when, at 14 (this version played by Tamara Smart), she and her twin sister, Billie (Siena Agudong), and their dad, Albert Wesker (Lance Reddick), one of the most important antagonists in the Resident Evil franchise, move to New Raccoon City for his continued work with the shady Umbrella Corporation. The show’s second time period takes place in 2036, after the world has become overrun with zombies that first appeared in New Raccoon City… in 2022.
The earlier timeline is what works best for Resident Evil. In its most entertaining moments, it’s a straightforward Netflix teen series — some of the platform’s most reliably enjoyable content, though never its best — with some light horror elements thrown on top. Reddick is great as an overworked-genius father who can’t pull himself away from work long enough to be a parent, and teens Jade and Billie are fun as sisters with very different personalities trying to fit in at a new school.
One of the series’ best scenes comes early on when Albert has to bail Billie out after some trouble at school. Reddick’s Wesker shows up, flexes his power and importance to Umbrella and terrifies the other parent into dropping the issue completely. Albert threatens to have the man not only fired from Umbrella, but blacklisted from ever working anywhere again, turning the flow of the meeting around so completely even the principal sits back to let him do his thing. It’s all of the ’90s bravado of video game Wesker focused into dad mode, instead of the usual nefarious and evil plots that game-Wesker got up to. If this scene set the tone for the entire show, it might have made for a fun offshoot and addition to the Resident Evil universe, but it’s more the exception than the rule.
Photo: Netflix
Photo: Netflix
Photo: Netflix
Instead, the 2022 part of the plot line falls prey to the series’ race toward the inevitable outbreak, giving us less high school drama in favor of boring Umbrella shenanigans, especially as the first season wears on. In the 2036 section of the story, things get a little weirder and a little worse for Resident Evil. The world, we’re told, is now occupied by 6 billion zombies and just a few hundred thousand humans. As Jade runs through this world with Umbrella hot on her heels for reasons that aren’t fully explained, we get a brief tour of the postapocalypse.
The uninfected humans have sectioned the world off into small kingdoms ruled by forces called things like the Brotherhood. At first, this seems like it could be an interesting setup for the show to give us some compelling world-building, but instead it mostly turns out to be recycled tropes, like the religious zealots, historians who want to preserve the old world, scrappers, and a totalitarian state with the only remaining technology — Umbrella, in this case.
What’s worse, the dialogue in these sections is particularly awful, a potent combination of unnecessarily exposition and awful jokes. Each of these flash-forwards also tends to end with a dull and lifeless action scene, so even if the show stumbled on an interesting character in 2036, their fate would be a foregone conclusion.
Despite all these issues, and the fact that it’s just not that fun to watch, it does seem like Netflix’s Resident Evil show may serve some kind of purpose. For the hardest of hardcore Resident Evil fans, the series offers some interesting explorations of a world that’s been changed and discarded more than a few times by series publisher Capcom.
Photo: Netflix
According to Dabb, the series is set inside the same world as the games. Everything that happened in Resident Evil’s canon entries (which is a complicated web to untangle by itself) has happened here. If this leaves longtime fans scratching their heads about a few very specific characters, Dabb says that’s by design and that those questions will be answered in time. Unfortunately, we have no indication of whether or not the series itself will be considered canon in the games, so even if this is the best reason to watch the show, it’s hard to imagine it as more than a fanfiction detour (this is particularly true considering that we have no indication that the world ends in 2036 in the games, a year that their canon is already one year past).
Resident Evil as a franchise is at its best when it’s treated more like a toy box than a revered IP. You can pull out a Wesker here, a zombie there, or you can just make a weird story and throw Umbrella logos over the ending. It’s an approach that worked for both Paul W.S. Anderson’s incredibly entertaining six-film series and for the mainline, numbered Resident Evil games. Resident Evil isn’t exactly The Twilight Zone; there’s a definite sense of shared universe and some light rules. But the best entries let good ideas carry them to interesting and scary places, canon be damned (in the case of the last two games, those places were a Louisiana swamp and a cursed village in Eastern Europe ruled over by a competing clan of monsters).
But instead of using the world as a loose justification for the weird horrors that lurk in the corners, Netflix’s series spends most of its time desperate to justify its own existence in the Resident Evil Universe™, and none building a new story that’s worth caring about.
We would love to give thanks to the author of this article for this incredible content
";}s:7:"summary";s:797:"Resident Evil can be just about anything. The long-running series, which started as a video game in 1996, has an elastic world that has successfully hosted everything from zombies and sea monsters to secret agents and powerful psychics without ever worrying too much about complex explanations. However, the biggest surprise about Netflix’s new Resident Evil ... Read more";s:12:"atom_content";s:10281:"
Resident Evil can be just about anything. The long-running series, which started as a video game in 1996, has an elastic world that has successfully hosted everything from zombies and sea monsters to secret agents and powerful psychics without ever worrying too much about complex explanations. However, the biggest surprise about Netflix’s new Resident Evil series from creator Andrew Dabb (Supernatural) is its careful devotion to the series’ weird, and often tampered with, canon — and just how boring the show is as a result.
Netflix’s Resident Evil series follows Jade Wesker (Ella Balinska) across two different time periods. The first is in 2022, when, at 14 (this version played by Tamara Smart), she and her twin sister, Billie (Siena Agudong), and their dad, Albert Wesker (Lance Reddick), one of the most important antagonists in the Resident Evil franchise, move to New Raccoon City for his continued work with the shady Umbrella Corporation. The show’s second time period takes place in 2036, after the world has become overrun with zombies that first appeared in New Raccoon City… in 2022.
The earlier timeline is what works best for Resident Evil. In its most entertaining moments, it’s a straightforward Netflix teen series — some of the platform’s most reliably enjoyable content, though never its best — with some light horror elements thrown on top. Reddick is great as an overworked-genius father who can’t pull himself away from work long enough to be a parent, and teens Jade and Billie are fun as sisters with very different personalities trying to fit in at a new school.
One of the series’ best scenes comes early on when Albert has to bail Billie out after some trouble at school. Reddick’s Wesker shows up, flexes his power and importance to Umbrella and terrifies the other parent into dropping the issue completely. Albert threatens to have the man not only fired from Umbrella, but blacklisted from ever working anywhere again, turning the flow of the meeting around so completely even the principal sits back to let him do his thing. It’s all of the ’90s bravado of video game Wesker focused into dad mode, instead of the usual nefarious and evil plots that game-Wesker got up to. If this scene set the tone for the entire show, it might have made for a fun offshoot and addition to the Resident Evil universe, but it’s more the exception than the rule.
Photo: Netflix
Photo: Netflix
Photo: Netflix
Instead, the 2022 part of the plot line falls prey to the series’ race toward the inevitable outbreak, giving us less high school drama in favor of boring Umbrella shenanigans, especially as the first season wears on. In the 2036 section of the story, things get a little weirder and a little worse for Resident Evil. The world, we’re told, is now occupied by 6 billion zombies and just a few hundred thousand humans. As Jade runs through this world with Umbrella hot on her heels for reasons that aren’t fully explained, we get a brief tour of the postapocalypse.
The uninfected humans have sectioned the world off into small kingdoms ruled by forces called things like the Brotherhood. At first, this seems like it could be an interesting setup for the show to give us some compelling world-building, but instead it mostly turns out to be recycled tropes, like the religious zealots, historians who want to preserve the old world, scrappers, and a totalitarian state with the only remaining technology — Umbrella, in this case.
What’s worse, the dialogue in these sections is particularly awful, a potent combination of unnecessarily exposition and awful jokes. Each of these flash-forwards also tends to end with a dull and lifeless action scene, so even if the show stumbled on an interesting character in 2036, their fate would be a foregone conclusion.
Despite all these issues, and the fact that it’s just not that fun to watch, it does seem like Netflix’s Resident Evil show may serve some kind of purpose. For the hardest of hardcore Resident Evil fans, the series offers some interesting explorations of a world that’s been changed and discarded more than a few times by series publisher Capcom.
Photo: Netflix
According to Dabb, the series is set inside the same world as the games. Everything that happened in Resident Evil’s canon entries (which is a complicated web to untangle by itself) has happened here. If this leaves longtime fans scratching their heads about a few very specific characters, Dabb says that’s by design and that those questions will be answered in time. Unfortunately, we have no indication of whether or not the series itself will be considered canon in the games, so even if this is the best reason to watch the show, it’s hard to imagine it as more than a fanfiction detour (this is particularly true considering that we have no indication that the world ends in 2036 in the games, a year that their canon is already one year past).
Resident Evil as a franchise is at its best when it’s treated more like a toy box than a revered IP. You can pull out a Wesker here, a zombie there, or you can just make a weird story and throw Umbrella logos over the ending. It’s an approach that worked for both Paul W.S. Anderson’s incredibly entertaining six-film series and for the mainline, numbered Resident Evil games. Resident Evil isn’t exactly The Twilight Zone; there’s a definite sense of shared universe and some light rules. But the best entries let good ideas carry them to interesting and scary places, canon be damned (in the case of the last two games, those places were a Louisiana swamp and a cursed village in Eastern Europe ruled over by a competing clan of monsters).
But instead of using the world as a loose justification for the weird horrors that lurk in the corners, Netflix’s series spends most of its time desperate to justify its own existence in the Resident Evil Universe™, and none building a new story that’s worth caring about.
We would love to give thanks to the author of this article for this incredible content
";s:14:"date_timestamp";i:1657698519;}i:5;a:11:{s:5:"title";s:101:"YOU, MINE (2023): James Franco Poised to Make a Comeback With a Principal Role in New Film | FilmBook";s:4:"link";s:146:"https://latestmovies.debatepost.com/latest-movies/you-mine-2023-james-franco-poised-to-make-a-comeback-with-a-principal-role-in-new-film-filmbook/";s:2:"dc";a:1:{s:7:"creator";s:14:"Sally Thornton";}s:7:"pubdate";s:31:"Wed, 13 Jul 2022 07:04:14 +0000";s:8:"category";s:63:"Latest MoviescomebackfilmFilmBookFrancoJamesPoisedPrincipalrole";s:4:"guid";s:44:"https://latestmovies.debatepost.com/?p=16364";s:11:"description";s:741:"James Franco Set to Return to Movies in Dramatic Film James Franco will be coming back to the screen after some personal off-screen difficulties in a drama alternately titled You, Mine. It has recently been made known that James Franco will be coming back to the movies in a picture based on the novel Tu, ... Read more";s:7:"content";a:1:{s:7:"encoded";s:7051:"
James Franco Set to Return to Movies in Dramatic Film
James Franco will be coming back to the screen after some personal off-screen difficulties in a drama alternately titled You, Mine.
It has recently been made known that James Franco will be coming back to the movies in a picture based on the novel Tu, Mio, by Erri De Luca. Danish filmmaker Bille August will be the one guiding Franco in his latest screen role. Franco is a man of many talents–both comedic and dramatic. In 2010’s hit, Eat Pray Love, Franco had a nice supporting part as a potential romantic interest for Julia Roberts but Franco is best known for his superhero movies and his offbeat independent pictures, not to mention 127 Hours which earned him an Oscar nod.
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Also starring in You, Mine (also known as Me, You) is going to be Tom Hollander and Daisy Jacob. This picture, said to be set in the 1950’s, revolves around a fisherman named Nicola (Franco) who sails around with a teenager named Marco (Hugo Hutton-Iliff). Hollander will be playing Marco’s dad while Jacob will serve as a beautiful girl named Caia who has a horrific past and who Marco comes to develop strong feelings for. It’s a post-WWII story with some heavy drama at its core.
Franco was at the height of his career with his supporting performance in Spring Breakers, a 2013 release that also starred Selena Gomez and Vanessa Hudgens. Franco’s wickedly nasty turn in that picture was a groundbreaking role that was hard to get acclaim for at the Oscars (it didn’t get a Best Supporting Actor nod for Franco, unfortunately) but director Harmony Korine’s movie from 2013 remains one of the most fierce, surprisingly intriguing, go-for-broke pictures that Franco has ever played in. Franco was again snubbed by the Academy when he delivered his career-best performance in 2017’s The Disaster Artist, a picture Franco also directed.
Sexual misconduct allegations rear ended Franco’s career for a bit. However, now, the former “General Hospital” soap opera star is making his way back into the movie world. Franco once appeared in the huge blockbuster sequels, Spider-Man 2 and Spider-Man 3, but found his way into independent pictures. When he made the physically demanding drama, 127 Hours, it resulted in a lot of praise for the star as a dramatic actor. He earned an Academy Award nod for Best Actor, as previously stated.
It’s safe to say Franco is ready to return to the craft he is most in touch with–acting. Franco’s new upcoming picture has a lot of people buzzing and some are predicting that the actor has what it takes to make people forget his past and reward the actor with a future full of prosperity alongside the hope of future award nominations.
";}s:7:"summary";s:741:"James Franco Set to Return to Movies in Dramatic Film James Franco will be coming back to the screen after some personal off-screen difficulties in a drama alternately titled You, Mine. It has recently been made known that James Franco will be coming back to the movies in a picture based on the novel Tu, ... Read more";s:12:"atom_content";s:7051:"
James Franco Set to Return to Movies in Dramatic Film
James Franco will be coming back to the screen after some personal off-screen difficulties in a drama alternately titled You, Mine.
It has recently been made known that James Franco will be coming back to the movies in a picture based on the novel Tu, Mio, by Erri De Luca. Danish filmmaker Bille August will be the one guiding Franco in his latest screen role. Franco is a man of many talents–both comedic and dramatic. In 2010’s hit, Eat Pray Love, Franco had a nice supporting part as a potential romantic interest for Julia Roberts but Franco is best known for his superhero movies and his offbeat independent pictures, not to mention 127 Hours which earned him an Oscar nod.
Advertisement
Also starring in You, Mine (also known as Me, You) is going to be Tom Hollander and Daisy Jacob. This picture, said to be set in the 1950’s, revolves around a fisherman named Nicola (Franco) who sails around with a teenager named Marco (Hugo Hutton-Iliff). Hollander will be playing Marco’s dad while Jacob will serve as a beautiful girl named Caia who has a horrific past and who Marco comes to develop strong feelings for. It’s a post-WWII story with some heavy drama at its core.
Franco was at the height of his career with his supporting performance in Spring Breakers, a 2013 release that also starred Selena Gomez and Vanessa Hudgens. Franco’s wickedly nasty turn in that picture was a groundbreaking role that was hard to get acclaim for at the Oscars (it didn’t get a Best Supporting Actor nod for Franco, unfortunately) but director Harmony Korine’s movie from 2013 remains one of the most fierce, surprisingly intriguing, go-for-broke pictures that Franco has ever played in. Franco was again snubbed by the Academy when he delivered his career-best performance in 2017’s The Disaster Artist, a picture Franco also directed.
Sexual misconduct allegations rear ended Franco’s career for a bit. However, now, the former “General Hospital” soap opera star is making his way back into the movie world. Franco once appeared in the huge blockbuster sequels, Spider-Man 2 and Spider-Man 3, but found his way into independent pictures. When he made the physically demanding drama, 127 Hours, it resulted in a lot of praise for the star as a dramatic actor. He earned an Academy Award nod for Best Actor, as previously stated.
It’s safe to say Franco is ready to return to the craft he is most in touch with–acting. Franco’s new upcoming picture has a lot of people buzzing and some are predicting that the actor has what it takes to make people forget his past and reward the actor with a future full of prosperity alongside the hope of future award nominations.
";s:14:"date_timestamp";i:1657695854;}i:6;a:11:{s:5:"title";s:54:"Have we gone from Marvel fatigue to Marvel exhaustion?";s:4:"link";s:104:"https://latestmovies.debatepost.com/latest-movies/have-we-gone-from-marvel-fatigue-to-marvel-exhaustion/";s:2:"dc";a:1:{s:7:"creator";s:7:"Susan P";}s:7:"pubdate";s:31:"Wed, 13 Jul 2022 05:37:17 +0000";s:8:"category";s:36:"Latest MoviesexhaustionfatigueMarvel";s:4:"guid";s:44:"https://latestmovies.debatepost.com/?p=16359";s:11:"description";s:640:"Has the Marvel Cinematic Universe entered its flop era? From a box office perspective, certainly not: the mounds of money amassed by Thor: Love and Thunder this past weekend – and the records shattered by multiple generations of Spider-Men last Christmas – prove that the public hasn’t lost its appetite for these quippy, interconnected spandex ... Read more";s:7:"content";a:1:{s:7:"encoded";s:10701:"
Has the Marvel Cinematic Universe entered its flop era? From a box office perspective, certainly not: the mounds of money amassed by Thor: Love and Thunder this past weekend – and the records shattered by multiple generations of Spider-Men last Christmas – prove that the public hasn’t lost its appetite for these quippy, interconnected spandex spectacles. Yet the reviews and even the reactions of opening-nightaudiences tell a different story: the tale of a franchise too big to fail skidding into its roughest creative patch.
Over the last year, Disney has released a whopping six new Marvel movies. Each has been plagued by its own problems, familiar to the MCU but amplified: perfunctory CGI climaxes (Black Widow and Shang-Chi and the Legend of the Ten Rings), boring ensembles (Eternals), convoluted homework plots (Doctor Strange in the Multiverse of Madness) and complete tonal incoherence (Thor: Love and Thunder). The best and most popular of the bunch, Spider-Man: No Way Home, has the novelty of an exchange program, pulling fan favorites from other continuities to provoke standing ovations. But it also has muddy green-screen action and an overstuffed, MacGuffin-heavy story.
There’s a certain sweaty desperation to the films of what Marvel calls, in corporate boardroom parlance, phase four of its continuing crossover event. These are tentpole entertainments that strain for laughs and excitement. They offer disappointing sendoffs for old characters, like Scarlett Johansson’s super cipher, Black Widow, and Elizabeth Olsen’s trauma-twisted Scarlet Witch, while botching the introduction of new ones. They transparently pander to their fanbase, screeching to a halt (and pausing for applause) during literal cameo parades. And they reinforce the limitations put on their directors, whose much-vaunted location shooting or stray flashes of zombie slapstick can’t disguise the rigidity of the overarching modus operandi.
In theory, it’s not such a bad thing that Marvel appears to be operating, for once, without an explicit, giant event on the horizon. After all, didn’t these films once seem a little too chained to the architecture of their grand design, at times feeling like glorified trailers for some exciting movie you’d have to wait until next summer to see? Yet it’s not as though Marvel is suddenly investing in standalone, self-contained adventures. It’s still tying up plot threads (including ones left hanging on television) and teasing future ones via post-credit stingers. The films remain fundamentally serialized in nature, but without the urgency of a, well, endgame. And that has only underscored the impression of a content mill, churning out stories without much in the way of a purpose or plan.
A scene from Eternals. Photograph: Marvel Studios/AP
Of course, the movies released by this studio have always been shiny, zippy product – a collection of splash-panel action-comedies animated less by any spark of grand inspiration than the brilliant synergistic business strategy of linking them all together. The very thing that’s made Marvel movies so successful is also what’s prevented them from rising above a certain ceiling of proficient fun: they’re designed to be familiar and digestible, to offer tweaked variations on a model audiences already love and have come to expect.
There just used to be more bloom on that rose, more promise of sturdy entertainment in the blueprint. Five years ago, Marvel filled a year of release dates with the Guardians of the Galaxy sequel, the first of its Spider-Man movies, the laugh riot Thor: Ragnarok, and the bona fide phenomenon (and Oscar winner) Black Panther – a string of hits that demonstrated how the tried and true template could be bent without breaking. These were movies that made good on the promise of a shared sandbox, a place where film-makers could play around a little with the Avengers action-figure line, edging the larger arc forward while still indulging a few of their own visual and thematic interests.
The new Marvel movies aren’t devoid of personal or idiosyncratic touches. (If anything, the new Thor is possibly too identifiable, in its flaws, as the work of Taika Waititi.) But they do feel more compromised. Each has demonstrated, in its own way, the checks put on anyone hoping to make a movie in this world; what’s infrequently, nominally fun about them – the spy-family sitcom reunion of Black Widow, the martial-arts flourishes of Shang-Chi, the occasional Raimi-isms of Multiverse of Madness – feel at odds with the demands of the larger formula, the stuff a Marvel movie has to do.
Doctor Strange and the Multiverse of Madness contained occasional Raimi-isms. Photograph: Disney/Allstar
Plus, Disney is really draining that formula dry. “Marvel fatigue” is an expression people were using long before this particular bumpy chapter in the studio’s history, but it’s especially applicable to a time when no more than a month or two passes without some new Marvel story hitting the market, thanks to a slate that now closes the gap between movies with television spinoffs beamed straight into people’s homes via Disney+. It’s the appointment-viewing aspect of the Marvel business model taken to a new extreme of detrimental over-saturation. What hope do these movies have to feel fresh or exciting when they’re arriving at a pace to rival the clockwork release of their comic-book source material?
If Marvel is in a rut, the simple solution would be to slow down the production schedule. A little more development time couldn’t hurt the movies, too many of which lately have felt like placeholders on a calendar, created only to fill the content void. And absence might make the heart grow fonder – a year off, thanks to Covid, may actually have whet the audience’s thirst for the bottleneck of entries that followed – and perhaps more forgiving of the boilerplate that’s easier to notice when you’re seeing a half-dozen variations on it a year.
But why would Disney take a breather? With opening weekends like the one Love and Thunder just logged, there’s little incentive for the studio to slow down its assembly line, or even to pay much attention to the individual quality of the entries dropping off it. Maybe these movies are a little worse than they once were because they can be; the brand is so strong, with such an iron grip on the public’s imagination and wallets, that the basic quality assurance that used to characterize it is no longer strictly necessary. If Marvel builds it, people will come. Until they don’t, we can probably expect the creative entropy to continue.
We would love to thank the author of this short article for this remarkable material
";}s:7:"summary";s:640:"Has the Marvel Cinematic Universe entered its flop era? From a box office perspective, certainly not: the mounds of money amassed by Thor: Love and Thunder this past weekend – and the records shattered by multiple generations of Spider-Men last Christmas – prove that the public hasn’t lost its appetite for these quippy, interconnected spandex ... Read more";s:12:"atom_content";s:10701:"
Has the Marvel Cinematic Universe entered its flop era? From a box office perspective, certainly not: the mounds of money amassed by Thor: Love and Thunder this past weekend – and the records shattered by multiple generations of Spider-Men last Christmas – prove that the public hasn’t lost its appetite for these quippy, interconnected spandex spectacles. Yet the reviews and even the reactions of opening-nightaudiences tell a different story: the tale of a franchise too big to fail skidding into its roughest creative patch.
Over the last year, Disney has released a whopping six new Marvel movies. Each has been plagued by its own problems, familiar to the MCU but amplified: perfunctory CGI climaxes (Black Widow and Shang-Chi and the Legend of the Ten Rings), boring ensembles (Eternals), convoluted homework plots (Doctor Strange in the Multiverse of Madness) and complete tonal incoherence (Thor: Love and Thunder). The best and most popular of the bunch, Spider-Man: No Way Home, has the novelty of an exchange program, pulling fan favorites from other continuities to provoke standing ovations. But it also has muddy green-screen action and an overstuffed, MacGuffin-heavy story.
There’s a certain sweaty desperation to the films of what Marvel calls, in corporate boardroom parlance, phase four of its continuing crossover event. These are tentpole entertainments that strain for laughs and excitement. They offer disappointing sendoffs for old characters, like Scarlett Johansson’s super cipher, Black Widow, and Elizabeth Olsen’s trauma-twisted Scarlet Witch, while botching the introduction of new ones. They transparently pander to their fanbase, screeching to a halt (and pausing for applause) during literal cameo parades. And they reinforce the limitations put on their directors, whose much-vaunted location shooting or stray flashes of zombie slapstick can’t disguise the rigidity of the overarching modus operandi.
In theory, it’s not such a bad thing that Marvel appears to be operating, for once, without an explicit, giant event on the horizon. After all, didn’t these films once seem a little too chained to the architecture of their grand design, at times feeling like glorified trailers for some exciting movie you’d have to wait until next summer to see? Yet it’s not as though Marvel is suddenly investing in standalone, self-contained adventures. It’s still tying up plot threads (including ones left hanging on television) and teasing future ones via post-credit stingers. The films remain fundamentally serialized in nature, but without the urgency of a, well, endgame. And that has only underscored the impression of a content mill, churning out stories without much in the way of a purpose or plan.
A scene from Eternals. Photograph: Marvel Studios/AP
Of course, the movies released by this studio have always been shiny, zippy product – a collection of splash-panel action-comedies animated less by any spark of grand inspiration than the brilliant synergistic business strategy of linking them all together. The very thing that’s made Marvel movies so successful is also what’s prevented them from rising above a certain ceiling of proficient fun: they’re designed to be familiar and digestible, to offer tweaked variations on a model audiences already love and have come to expect.
There just used to be more bloom on that rose, more promise of sturdy entertainment in the blueprint. Five years ago, Marvel filled a year of release dates with the Guardians of the Galaxy sequel, the first of its Spider-Man movies, the laugh riot Thor: Ragnarok, and the bona fide phenomenon (and Oscar winner) Black Panther – a string of hits that demonstrated how the tried and true template could be bent without breaking. These were movies that made good on the promise of a shared sandbox, a place where film-makers could play around a little with the Avengers action-figure line, edging the larger arc forward while still indulging a few of their own visual and thematic interests.
The new Marvel movies aren’t devoid of personal or idiosyncratic touches. (If anything, the new Thor is possibly too identifiable, in its flaws, as the work of Taika Waititi.) But they do feel more compromised. Each has demonstrated, in its own way, the checks put on anyone hoping to make a movie in this world; what’s infrequently, nominally fun about them – the spy-family sitcom reunion of Black Widow, the martial-arts flourishes of Shang-Chi, the occasional Raimi-isms of Multiverse of Madness – feel at odds with the demands of the larger formula, the stuff a Marvel movie has to do.
Doctor Strange and the Multiverse of Madness contained occasional Raimi-isms. Photograph: Disney/Allstar
Plus, Disney is really draining that formula dry. “Marvel fatigue” is an expression people were using long before this particular bumpy chapter in the studio’s history, but it’s especially applicable to a time when no more than a month or two passes without some new Marvel story hitting the market, thanks to a slate that now closes the gap between movies with television spinoffs beamed straight into people’s homes via Disney+. It’s the appointment-viewing aspect of the Marvel business model taken to a new extreme of detrimental over-saturation. What hope do these movies have to feel fresh or exciting when they’re arriving at a pace to rival the clockwork release of their comic-book source material?
If Marvel is in a rut, the simple solution would be to slow down the production schedule. A little more development time couldn’t hurt the movies, too many of which lately have felt like placeholders on a calendar, created only to fill the content void. And absence might make the heart grow fonder – a year off, thanks to Covid, may actually have whet the audience’s thirst for the bottleneck of entries that followed – and perhaps more forgiving of the boilerplate that’s easier to notice when you’re seeing a half-dozen variations on it a year.
But why would Disney take a breather? With opening weekends like the one Love and Thunder just logged, there’s little incentive for the studio to slow down its assembly line, or even to pay much attention to the individual quality of the entries dropping off it. Maybe these movies are a little worse than they once were because they can be; the brand is so strong, with such an iron grip on the public’s imagination and wallets, that the basic quality assurance that used to characterize it is no longer strictly necessary. If Marvel builds it, people will come. Until they don’t, we can probably expect the creative entropy to continue.
We would love to thank the author of this short article for this remarkable material
";s:14:"date_timestamp";i:1657690637;}i:7;a:11:{s:5:"title";s:81:"Director Paul Haggis admits to ‘errors in judgment’ in Italian sex-abuse case";s:4:"link";s:126:"https://latestmovies.debatepost.com/latest-movies/director-paul-haggis-admits-to-errors-in-judgment-in-italian-sex-abuse-case/";s:2:"dc";a:1:{s:7:"creator";s:14:"River Streeter";}s:7:"pubdate";s:31:"Wed, 13 Jul 2022 01:20:39 +0000";s:8:"category";s:66:"Latest MoviesAdmitsDirectorerrorsHaggisItalianjudgmentPaulsexabuse";s:4:"guid";s:44:"https://latestmovies.debatepost.com/?p=16348";s:11:"description";s:723:"Director Paul Haggis is speaking out amid his ongoing sexual-abuse case in Italy as prosecutors there are trying to put him back under house arrest. Noting an “absence of constricting violent behavior,” a judge in the Italian city of Brindisi last week released the “Crash” director from a 16-day detention at his hotel, where Haggis ... Read more";s:7:"content";a:1:{s:7:"encoded";s:6286:"
Director Paul Haggis is speaking out amid his ongoing sexual-abuse case in Italy as prosecutors there are trying to put him back under house arrest.
Noting an “absence of constricting violent behavior,” a judge in the Italian city of Brindisi last week released the “Crash” director from a 16-day detention at his hotel, where Haggis had been for a film festival. The two-time Oscar winner recently gave a sprawling interview to the Italian publication La Repubblica, asserting his innocence and discussing the professional fallout from the allegations made against him in the U.S. and abroad.
“Being accused of sexual violence, something that I did not do, was devastating and something I hope no innocent person will ever experience,” Haggis said in a translated interview, which the Italian outlet published Tuesday.
The 69-year-old also admitted to making mistakes from which the allegations stem. According to Italian media, a 30-year-old Englishwoman who knew Haggis before going to the film festival alleged that he forced her to have sex with him over two days at a bed-and-breakfast in Puglia and then dropped her off at a nearby airport while she was in a state of confusion.
“As I told the judge, my first mistake was allowing someone who I hardly knew to come and visit me. It was foolish,” Haggis said. “The second mistake was on the last morning after an incident occurred that I personally found particularly unpleasant, I decided to end this situation; I took this person to the airport hours before her flight. I’m upset with myself for these errors in judgment but cannot comprehend that they resulted in false and damaging accusations against me.”
Haggis asserted that he has never been charged with a crime and no woman has made a criminal complaint against him. He also said that he’s waited five years to clear his name in the U.S. following a civil lawsuit involving a rape allegation but lamented that that case is considered precedent against him in Italy even though it has not yet been heard in U.S. court.
“I am still the only person to ask any prosecutor to investigate,” he said. “As for my work, after five years, I recently got two jobs as a screenwriter. When I was arrested in Italy, I lost both.”
When the reporter likened Haggis’ personal and professional woes to a “bad script,” Haggis replied: “In fiction, you only know the heart of a character when you put them under terrible pressure. I believe this is just as true in life. I have always tried to carry myself with dignity and not speak out or defend myself. I will rely on the courts for the truth and for justice to be served.”
Variety reported Tuesday that the prosecution and lawyers for the alleged victim filed a appeal against the judge’s decision to release Haggis from detention — a decision that came last week during a pretrial hearing in which Haggis came face to face with his accuser.
Asked if he thinks there might be a connection between his high-profile 2009 departure from the Church of Scientology and “what happened” to him since, the director didn’t totally rule it out.
“I don’t yet have proof in this instance, but from what I have learned in dealing with Scientology, they are capable of absolutely anything. If you speak out against them, they will use any means to destroy your reputation, career and family,” Haggis alleged.
“They refer to this ruthless tactic as ‘Fair Game.’ You can ask people who know more than me, like [former Scientology spokesman] Mike Rinder, who for many years supervised Scientology’s ‘black ops,’ as they call it, or one of the dedicated and brave journalists like Bryan Seymour who have spent their careers investigating this dangerous cult,” he added.
Haggis has been an outspoken critic of the church. He participated in the bombshell 2015 documentary “Going Clear: Scientology and the Prison of Belief” and the 2016 docuseries “Leah Remini: Scientology and the Aftermath,” and criticized the organization in the New Yorker.
Karin Pouw, a spokesperson for the Church of Scientology, rebuffed Haggis’ remarks on Tuesday.
“This has been Paul Haggis’ playbook all along — accused of rape allegations and horrific sexual assault now by five different women, he refuses to take responsibility for his actions and instead deflects by using the press to falsely blame the Church and shame his alleged victims with false and defamatory rhetoric,” Pouw said in an email to The Times.
Haggis is set to stand trial in New York in October in a separate case related to 2017 allegations made by film publicist Haleigh Breest, who alleged that Haggis raped her at his New York apartment in 2013. Haggis denied the claim and sued Breest, accusing her and her attorney of trying to extort $9 million in “hush money.”
We would like to say thanks to the writer of this post for this outstanding material
";}s:7:"summary";s:723:"Director Paul Haggis is speaking out amid his ongoing sexual-abuse case in Italy as prosecutors there are trying to put him back under house arrest. Noting an “absence of constricting violent behavior,” a judge in the Italian city of Brindisi last week released the “Crash” director from a 16-day detention at his hotel, where Haggis ... Read more";s:12:"atom_content";s:6286:"
Director Paul Haggis is speaking out amid his ongoing sexual-abuse case in Italy as prosecutors there are trying to put him back under house arrest.
Noting an “absence of constricting violent behavior,” a judge in the Italian city of Brindisi last week released the “Crash” director from a 16-day detention at his hotel, where Haggis had been for a film festival. The two-time Oscar winner recently gave a sprawling interview to the Italian publication La Repubblica, asserting his innocence and discussing the professional fallout from the allegations made against him in the U.S. and abroad.
“Being accused of sexual violence, something that I did not do, was devastating and something I hope no innocent person will ever experience,” Haggis said in a translated interview, which the Italian outlet published Tuesday.
The 69-year-old also admitted to making mistakes from which the allegations stem. According to Italian media, a 30-year-old Englishwoman who knew Haggis before going to the film festival alleged that he forced her to have sex with him over two days at a bed-and-breakfast in Puglia and then dropped her off at a nearby airport while she was in a state of confusion.
“As I told the judge, my first mistake was allowing someone who I hardly knew to come and visit me. It was foolish,” Haggis said. “The second mistake was on the last morning after an incident occurred that I personally found particularly unpleasant, I decided to end this situation; I took this person to the airport hours before her flight. I’m upset with myself for these errors in judgment but cannot comprehend that they resulted in false and damaging accusations against me.”
Haggis asserted that he has never been charged with a crime and no woman has made a criminal complaint against him. He also said that he’s waited five years to clear his name in the U.S. following a civil lawsuit involving a rape allegation but lamented that that case is considered precedent against him in Italy even though it has not yet been heard in U.S. court.
“I am still the only person to ask any prosecutor to investigate,” he said. “As for my work, after five years, I recently got two jobs as a screenwriter. When I was arrested in Italy, I lost both.”
When the reporter likened Haggis’ personal and professional woes to a “bad script,” Haggis replied: “In fiction, you only know the heart of a character when you put them under terrible pressure. I believe this is just as true in life. I have always tried to carry myself with dignity and not speak out or defend myself. I will rely on the courts for the truth and for justice to be served.”
Variety reported Tuesday that the prosecution and lawyers for the alleged victim filed a appeal against the judge’s decision to release Haggis from detention — a decision that came last week during a pretrial hearing in which Haggis came face to face with his accuser.
Asked if he thinks there might be a connection between his high-profile 2009 departure from the Church of Scientology and “what happened” to him since, the director didn’t totally rule it out.
“I don’t yet have proof in this instance, but from what I have learned in dealing with Scientology, they are capable of absolutely anything. If you speak out against them, they will use any means to destroy your reputation, career and family,” Haggis alleged.
“They refer to this ruthless tactic as ‘Fair Game.’ You can ask people who know more than me, like [former Scientology spokesman] Mike Rinder, who for many years supervised Scientology’s ‘black ops,’ as they call it, or one of the dedicated and brave journalists like Bryan Seymour who have spent their careers investigating this dangerous cult,” he added.
Haggis has been an outspoken critic of the church. He participated in the bombshell 2015 documentary “Going Clear: Scientology and the Prison of Belief” and the 2016 docuseries “Leah Remini: Scientology and the Aftermath,” and criticized the organization in the New Yorker.
Karin Pouw, a spokesperson for the Church of Scientology, rebuffed Haggis’ remarks on Tuesday.
“This has been Paul Haggis’ playbook all along — accused of rape allegations and horrific sexual assault now by five different women, he refuses to take responsibility for his actions and instead deflects by using the press to falsely blame the Church and shame his alleged victims with false and defamatory rhetoric,” Pouw said in an email to The Times.
Haggis is set to stand trial in New York in October in a separate case related to 2017 allegations made by film publicist Haleigh Breest, who alleged that Haggis raped her at his New York apartment in 2013. Haggis denied the claim and sued Breest, accusing her and her attorney of trying to extort $9 million in “hush money.”
We would like to say thanks to the writer of this post for this outstanding material
";s:14:"date_timestamp";i:1657675239;}i:8;a:11:{s:5:"title";s:90:"Review: ‘Where the Crawdads Sing’ is the latest literary sensation turned ho-hum movie";s:4:"link";s:134:"https://latestmovies.debatepost.com/latest-movies/review-where-the-crawdads-sing-is-the-latest-literary-sensation-turned-ho-hum-movie/";s:2:"dc";a:1:{s:7:"creator";s:11:"Harold King";}s:7:"pubdate";s:31:"Wed, 13 Jul 2022 00:47:25 +0000";s:8:"category";s:58:"Latest MoviesCrawdadshohumliteraryMovieReviewsensationsing";s:4:"guid";s:44:"https://latestmovies.debatepost.com/?p=16337";s:11:"description";s:732:"In 2018, retired zoologist Delia Owens, the author of the best-selling 1984 memoir “Cry of the Kalahari,” published her first novel at the age of 69. “Where the Crawdads Sing” is set on the North Carolina coast in the 1950s and ’60s, threading romance and murder mystery through the life story of a young, isolated ... Read more";s:7:"content";a:1:{s:7:"encoded";s:5973:"
In 2018, retired zoologist Delia Owens, the author of the best-selling 1984 memoir “Cry of the Kalahari,” published her first novel at the age of 69. “Where the Crawdads Sing” is set on the North Carolina coast in the 1950s and ’60s, threading romance and murder mystery through the life story of a young, isolated woman, Kya, who grows up abandoned in the marsh. The story is a bit far-fetched, the characterizations broad, but there’s a beauty in Owens’ description of Kya’s relationship to the natural world. Her derisive nickname, “the Marsh Girl,” ultimately becomes her strength.
“Where the Crawdads Sing” has become a legitimate publishing phenomenon, one of the best-selling books of all time, despite a controversy bubbling in Owens’ past — a connection to the killing of a suspected animal poacher in Zambia. Reese Witherspoon bestowed the book with her book club blessing, and as she has done with other titles from her club, like “Big Little Lies,” Witherspoon has produced the film adaptation of “Where the Crawdads Sing,” written by Lucy Alibar, directed by Olivia Newman, and starring Daisy Edgar-Jones as the heroine, Kya.
The film is easily slotted into the Southern gothic courtroom drama sub-genre — it’s like “A Time to Kill” with a feminine touch. While the nature of adaptation requires compression and elision, the film dutifully tells the story that fans of the book will turn out to see brought to life on the big screen. But in checking off all the plot points, the movie version loses what makes the book work, which is the time we spend with Kya.
Kya is a tricky protagonist whose life story requires a certain suspension of disbelief. Abandoned by her mother (Ahna O’Reilly) and siblings escaping the drunken abuse of her father (Garret Dillahunt), who later disappears, young Kya (Jojo Regina) survives on her own, selling mussels to the proprietor of the local bait and tackle shop, Jumpin’ (Sterling Macer Jr.). His wife, Mabel (Michael Hyatt), takes pity on Kya and offers her some clothes and food donations, but it’s an exceedingly tough existence, something that the film does not manage to fully convey.
As a teen, Kya forms a friendship with a local boy, Tate (Taylor John Smith), who teaches her to read, and though their relationship turns romantic, he ultimately leaves her for college. Abandoned once again, she seeks companionship with popular local cad Chase Andrews (Harris Dickinson). It’s his death, from a fall at the rickety fire tower, that sees Kya on trial in the town of Barkley Cove, which ultimately becomes a referendum on how she’s been harshly judged over the years by the townspeople.
The only reason Kya works in the book is the amount of time the reader spends with her in the marsh, understanding the tactics she uses to get by, and getting to know the natural world in the way that she does, observing the patterns and life cycles of animals, insects, and plants. The deep knowledge of her environment and ad-hoc education from Tate helps Kya overcome poverty, as she publishes illustrated books of local shells, plants, and birds. But in the film, which sacrifices getting to know her in order to prioritize the more scandal-driven twists and turns, Kya comes off as somewhat silly, a bit easy to laugh at in her naiveté and guilelessness.
There’s also the matter of plausibility, and the shininess with which this rough, wild world has been rendered by Newman and cinematographer Polly Morgan. The marsh (shot on location in Louisiana) is captured with a crisp, if perfunctory beauty, but it’s hard to buy English rose Edgar-Jones in her crisp blouses and clean jeans as the near-feral naturalist who has been brutally cast out by society. Everything’s just too pretty, a Disneyland version of the marsh.
The whole world feels sanded-down and spit-shined within an inch of its life, lacking any grime or grit that might make this feel authentic, and that extends to the storytelling as well. It feels exceedingly rushed, as the actors hit their marks and deliver their monologues with a sense of obligation to moving the plot along rather than developing character. Hyatt, as Mabel, and David Strathairn, who plays Kya’s lawyer, Tom Milton, are the only actors who deliver grounded performances that feel like real people — everyone else feels like a two-dimensional version of an archetype spouting the necessary backstory or subtext to keep the plot churning forward.
Though it is faithful, “Where the Crawdads Sing” is lacking the essential character and storytelling connective tissue that makes a story like this work — an adaptation such as this cannot survive on plot alone.
Katie Walsh is a Tribune News Service film critic.
‘Where the Crawdads Sing’
Rating: PG-13, for sexual content and some violence including a sexual assault
Running time: 2 hours, 5 minutes
Playing: In general release July 15
We would like to say thanks to the author of this article for this awesome web content
";}s:7:"summary";s:732:"In 2018, retired zoologist Delia Owens, the author of the best-selling 1984 memoir “Cry of the Kalahari,” published her first novel at the age of 69. “Where the Crawdads Sing” is set on the North Carolina coast in the 1950s and ’60s, threading romance and murder mystery through the life story of a young, isolated ... Read more";s:12:"atom_content";s:5973:"
In 2018, retired zoologist Delia Owens, the author of the best-selling 1984 memoir “Cry of the Kalahari,” published her first novel at the age of 69. “Where the Crawdads Sing” is set on the North Carolina coast in the 1950s and ’60s, threading romance and murder mystery through the life story of a young, isolated woman, Kya, who grows up abandoned in the marsh. The story is a bit far-fetched, the characterizations broad, but there’s a beauty in Owens’ description of Kya’s relationship to the natural world. Her derisive nickname, “the Marsh Girl,” ultimately becomes her strength.
“Where the Crawdads Sing” has become a legitimate publishing phenomenon, one of the best-selling books of all time, despite a controversy bubbling in Owens’ past — a connection to the killing of a suspected animal poacher in Zambia. Reese Witherspoon bestowed the book with her book club blessing, and as she has done with other titles from her club, like “Big Little Lies,” Witherspoon has produced the film adaptation of “Where the Crawdads Sing,” written by Lucy Alibar, directed by Olivia Newman, and starring Daisy Edgar-Jones as the heroine, Kya.
The film is easily slotted into the Southern gothic courtroom drama sub-genre — it’s like “A Time to Kill” with a feminine touch. While the nature of adaptation requires compression and elision, the film dutifully tells the story that fans of the book will turn out to see brought to life on the big screen. But in checking off all the plot points, the movie version loses what makes the book work, which is the time we spend with Kya.
Kya is a tricky protagonist whose life story requires a certain suspension of disbelief. Abandoned by her mother (Ahna O’Reilly) and siblings escaping the drunken abuse of her father (Garret Dillahunt), who later disappears, young Kya (Jojo Regina) survives on her own, selling mussels to the proprietor of the local bait and tackle shop, Jumpin’ (Sterling Macer Jr.). His wife, Mabel (Michael Hyatt), takes pity on Kya and offers her some clothes and food donations, but it’s an exceedingly tough existence, something that the film does not manage to fully convey.
As a teen, Kya forms a friendship with a local boy, Tate (Taylor John Smith), who teaches her to read, and though their relationship turns romantic, he ultimately leaves her for college. Abandoned once again, she seeks companionship with popular local cad Chase Andrews (Harris Dickinson). It’s his death, from a fall at the rickety fire tower, that sees Kya on trial in the town of Barkley Cove, which ultimately becomes a referendum on how she’s been harshly judged over the years by the townspeople.
The only reason Kya works in the book is the amount of time the reader spends with her in the marsh, understanding the tactics she uses to get by, and getting to know the natural world in the way that she does, observing the patterns and life cycles of animals, insects, and plants. The deep knowledge of her environment and ad-hoc education from Tate helps Kya overcome poverty, as she publishes illustrated books of local shells, plants, and birds. But in the film, which sacrifices getting to know her in order to prioritize the more scandal-driven twists and turns, Kya comes off as somewhat silly, a bit easy to laugh at in her naiveté and guilelessness.
There’s also the matter of plausibility, and the shininess with which this rough, wild world has been rendered by Newman and cinematographer Polly Morgan. The marsh (shot on location in Louisiana) is captured with a crisp, if perfunctory beauty, but it’s hard to buy English rose Edgar-Jones in her crisp blouses and clean jeans as the near-feral naturalist who has been brutally cast out by society. Everything’s just too pretty, a Disneyland version of the marsh.
The whole world feels sanded-down and spit-shined within an inch of its life, lacking any grime or grit that might make this feel authentic, and that extends to the storytelling as well. It feels exceedingly rushed, as the actors hit their marks and deliver their monologues with a sense of obligation to moving the plot along rather than developing character. Hyatt, as Mabel, and David Strathairn, who plays Kya’s lawyer, Tom Milton, are the only actors who deliver grounded performances that feel like real people — everyone else feels like a two-dimensional version of an archetype spouting the necessary backstory or subtext to keep the plot churning forward.
Though it is faithful, “Where the Crawdads Sing” is lacking the essential character and storytelling connective tissue that makes a story like this work — an adaptation such as this cannot survive on plot alone.
Katie Walsh is a Tribune News Service film critic.
‘Where the Crawdads Sing’
Rating: PG-13, for sexual content and some violence including a sexual assault
Running time: 2 hours, 5 minutes
Playing: In general release July 15
We would like to say thanks to the author of this article for this awesome web content
";s:14:"date_timestamp";i:1657673245;}i:9;a:11:{s:5:"title";s:90:"Netflix’s 13 Movie Musical to Include at Least 3 New Songs Written by Jason Robert Brown";s:4:"link";s:138:"https://latestmovies.debatepost.com/latest-movies/netflixs-13-movie-musical-to-include-at-least-3-new-songs-written-by-jason-robert-brown/";s:2:"dc";a:1:{s:7:"creator";s:7:"Susan P";}s:7:"pubdate";s:31:"Tue, 12 Jul 2022 23:31:46 +0000";s:8:"category";s:68:"Latest MoviesbrownIncludeJasonMovieMusicalNetflixsRobertSongsWritten";s:4:"guid";s:44:"https://latestmovies.debatepost.com/?p=16330";s:11:"description";s:742:"Film & TV News Netflix’s 13 Movie Musical to Include at Least 3 New Songs Written by Jason Robert Brown The 2008 Broadway musical about middle school teens will stream later this summer. Eli Golden and cast of 13: The Musical Netflix Details have emerged about the soundtrack of Netflix’s upcoming film adaptation of Jason ... Read more";s:7:"content";a:1:{s:7:"encoded";s:7895:"
Film & TV News
Netflix’s 13 Movie Musical to Include at Least 3 New Songs Written by Jason Robert Brown
The 2008 Broadway musical about middle school teens will stream later this summer.
Eli Golden and cast of 13: The Musical
Netflix
Details have emerged about the soundtrack of Netflix’s upcoming film adaptation of Jason Robert Brown, Dan Elish, and Robert Horn’s 13, adapted from their 2008 Broadway musical. Set to release on the streamer August 12, the Tamra Davis-directed movie will include at least three new songs written expressly for the screen version by Brown.
The film’s soundtrack will release along with the film August 12, with performances from the movie’s teen cast, including Eli Golden, Gabriella Uhl, JD McCrary, Frankie McNellis, Lindsey Blackwell, Jonathan Lengel, Broadway The Lion King alum Ramon Reed, Nolen Dubuc, Luke Islam, Shechinah Mpumlwana, Kayleigh Cerezo, Willow Moss, Liam Wignall, and Khiyla Aynne. The movie also co-stars Debra Messing, Rhea Perlman, Josh Peck, and Peter Hermann, though it appears that only teens get to sing in 13.
See, here I am not mentioning it, but according to this there are at least THREE ENTIRELY NEW SONGS in the “13” movie. (There’s actually even more than that.) Holy mackaroly! One month from today! https://t.co/KpXf5Z7tNQ
1. “13” 2. “Lamest Place in the World” 3. “I’ve Been Waiting” 4. “Opportunity” 5. “The Bloodmaster” 6. “Getting Ready” 7. “Bad Bad News” 8. “It Would Be Funny” 9. “Tell Her” 10. “A Little More Homework” 11. “Brand New You” 12. “Getting Ready (Extended)” 13. “What It Means to Be a Friend” 14. “Tell Her” (Alec Benjamin)
New titles not present in the stage version’s song list are “I’ve Been Waiting,” “The Bloodmaster,” and “It Would Be Funny.”
The musical, featuring a book by Elish and Tootsie Tony winner Horn, premiered in Los Angeles in 2007, going on to bow on Broadway the following year. The production marked the first—and to date, only—musical to feature a cast and band comprising entirely teenagers. Among the company were a young Graham Phillips, Allie Trimm, and Ariana Grande. The musical centers on 12-year-old Evan Goldman as he navigates a sudden move from NYC to Indiana, his parents divorcing, and his impending bar mitzvah.
The release is the latest in Netflix’s growing catalog of stage-to-screen projects, joining screen adaptations of The Prom and tick, tick…BOOM!, and the upcoming Emma Thompson-led Matilda. The streamer is also currently developing a movie version of the Off-Broadway musical The Legend of Georgia McBride and a limited series based on the long-running Broadway musical A Chorus Line.
0
of
Get a First Look at Netflix’s New Movie Musical 13: The Musical
Get a First Look at Netflix’s New Movie Musical 13: The Musical
3 PHOTOS
Eli Golden and cast of 13: The Musical
Netflix
Eli Golden and cast of 13: The Musical
Netflix
Eli Golden and cast of 13: The Musical
Netflix
We would love to thank the author of this post for this remarkable material
";}s:7:"summary";s:742:"Film & TV News Netflix’s 13 Movie Musical to Include at Least 3 New Songs Written by Jason Robert Brown The 2008 Broadway musical about middle school teens will stream later this summer. Eli Golden and cast of 13: The Musical Netflix Details have emerged about the soundtrack of Netflix’s upcoming film adaptation of Jason ... Read more";s:12:"atom_content";s:7895:"
Film & TV News
Netflix’s 13 Movie Musical to Include at Least 3 New Songs Written by Jason Robert Brown
The 2008 Broadway musical about middle school teens will stream later this summer.
Eli Golden and cast of 13: The Musical
Netflix
Details have emerged about the soundtrack of Netflix’s upcoming film adaptation of Jason Robert Brown, Dan Elish, and Robert Horn’s 13, adapted from their 2008 Broadway musical. Set to release on the streamer August 12, the Tamra Davis-directed movie will include at least three new songs written expressly for the screen version by Brown.
The film’s soundtrack will release along with the film August 12, with performances from the movie’s teen cast, including Eli Golden, Gabriella Uhl, JD McCrary, Frankie McNellis, Lindsey Blackwell, Jonathan Lengel, Broadway The Lion King alum Ramon Reed, Nolen Dubuc, Luke Islam, Shechinah Mpumlwana, Kayleigh Cerezo, Willow Moss, Liam Wignall, and Khiyla Aynne. The movie also co-stars Debra Messing, Rhea Perlman, Josh Peck, and Peter Hermann, though it appears that only teens get to sing in 13.
See, here I am not mentioning it, but according to this there are at least THREE ENTIRELY NEW SONGS in the “13” movie. (There’s actually even more than that.) Holy mackaroly! One month from today! https://t.co/KpXf5Z7tNQ
1. “13” 2. “Lamest Place in the World” 3. “I’ve Been Waiting” 4. “Opportunity” 5. “The Bloodmaster” 6. “Getting Ready” 7. “Bad Bad News” 8. “It Would Be Funny” 9. “Tell Her” 10. “A Little More Homework” 11. “Brand New You” 12. “Getting Ready (Extended)” 13. “What It Means to Be a Friend” 14. “Tell Her” (Alec Benjamin)
New titles not present in the stage version’s song list are “I’ve Been Waiting,” “The Bloodmaster,” and “It Would Be Funny.”
The musical, featuring a book by Elish and Tootsie Tony winner Horn, premiered in Los Angeles in 2007, going on to bow on Broadway the following year. The production marked the first—and to date, only—musical to feature a cast and band comprising entirely teenagers. Among the company were a young Graham Phillips, Allie Trimm, and Ariana Grande. The musical centers on 12-year-old Evan Goldman as he navigates a sudden move from NYC to Indiana, his parents divorcing, and his impending bar mitzvah.
The release is the latest in Netflix’s growing catalog of stage-to-screen projects, joining screen adaptations of The Prom and tick, tick…BOOM!, and the upcoming Emma Thompson-led Matilda. The streamer is also currently developing a movie version of the Off-Broadway musical The Legend of Georgia McBride and a limited series based on the long-running Broadway musical A Chorus Line.
0
of
Get a First Look at Netflix’s New Movie Musical 13: The Musical
Get a First Look at Netflix’s New Movie Musical 13: The Musical
3 PHOTOS
Eli Golden and cast of 13: The Musical
Netflix
Eli Golden and cast of 13: The Musical
Netflix
Eli Golden and cast of 13: The Musical
Netflix
We would love to thank the author of this post for this remarkable material
